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Mémoire numérisé par la Division de la gestion de documents et des archives de l'Université de Montréal.

Mémoire numérisé par la Division de la gestion de documents et des archives de l'Université de Montréal

[pt] Esta dissertação investiga modos discursivos não figurativos de apresentação da dor para, a partir disso, dar a ver possíveis modalidades enunciativas de auto-expressão que, mesmo reagindo a uma crise da representação, põem em questão uma acepção de real enquanto irrepresentável. O estudo se debruça sobre escritos de três autores que no século XX responderam com diferentes ênfases à questão aqui abordada: Ludwig Wittgenstein, Antonin Artaud e Henry Miller. A problemática que se desenha nesse trabalho é provocada pela predileção de Wittgenstein pelo tema da dor em suas Investigações Filosóficas no tratamento do argumento da linguagem privada. Wittgenstein, nesse ponto, incita a uma reflexão que se dirija às manifestações de linguagem relativas à dor, que não sendo a representação de um mundo interior do indivíduo, constituem comportamentos exercitados em determinados jogos de linguagem que lhes dão pertinência. ―Como posso, pois, querer colocar a linguagem entre a dor e a manifestação da dor? (IF, 245). Em um primeiro momento, empreende-se uma reflexão que, a partir das advertências de Wittgenstein, dirigida a questionar uma defesa do irrepresentável, busca uma leitura dos modos discursivos do próprio Wittgenstein para a apresentação de ocasiões em que a expressão da dor pela linguagem não sendo sua representação é um comportamento perante a dor. E, num segundo momento, uma leitura de obras de Antonin Artaud e Henry Miller cujo tratamento da dor, em perspectiva dessa leitura de Wittgenstein, apresenta modalidades discursivas empenhadas numa expressão não figurativa e avessas a uma acepção do real como irrepresentável. / [en] This dissertation investigates non-figurative discursive ways of presentation of pain to see, go on from there, the possible modalities of enunciation of self-expression that, even reacting to a crisis of representation, call into question a sense of real as unrepresentable. The study focuses on the writings of three authors in the twentieth century responded with different emphasis to the issue addressed here: Ludwig Wittgenstein, Antonin Artaud and Henry Miller. The issue that is shaping this work is caused by the predilection of Wittgenstein for the theme of pain in his Philosophical Investigations in the treatment of private language argument. Wittgenstein at this point calls for a reflection that addresses the manifestations of language related to pain, not being the representation of individual s inner world, constitutes behaviors exercised in specific language games that give them relevance. ―How I can even attempt to interpose language between the expression of pain and the pain? (PI, 245). First of all, it proposes a reflection that, from Wittgenstein s warnings, addressed to question a defense of the unrepresentable, looking for a reading of discursive modes of Wittgenstein s own for the presentation of occasions in which the expression of pain by language not being a representation is a behavior before the pain. And, secondly, a reading of works by Antonin Artaud and Henry Miller whose pain treatment, in view of this reading of Wittgenstein, presents discursive modalities engaged in a non-figurative expression and averse to a real sense as unrepresentable.

It is the purpose of this thesis to present the research, planning, and actual production procedures of the play entitled Harriet, as written by Florence Ryerson and Colin Clements. This is the production which was originally done by Gilbert Miller at Henry Miller's Theatre in 1943 with Miss Helen Hayes in the title role.

The PhD. dissertation Written Voice examines how Walt Whitman and Henry Miller through books, confined textual products of modernity, strive to awaken the reader to a more perceptive and courageous life, provided that the reader is willing to suspend hermeneutics of suspicion and approach Leaves of Grass and Tropic of Cancer with hermeneutics of hunger. This is examined from linguistic, anthropological and theological vantage point of oral theory (M. Jousse, M. Parry, A. Lord, W. Ong, E. Havelock, J. Assmann, D. Abram, C. Geertz, T. Pettitt, J. Nohrnberg, D. Sölle, etc.). This work thus compares Leaves (1855) and Tropic of Cancer examining their paratextual, stylistic features, their genesis, the phenomenology of their I's, their ethos and story across the compositions. By "voluntary" usage of means of oral mnemonics such as parallelism/bilateralism (Jousse) - along with present tense, imitatio Christi and pedagogical usage of obscenity - both authors in their compositions attack the textual modern discourse, the posteriority, nostalgia and confinement of literature, restore the body, and aim for futurality of biblical kinetics. It is the reader's task, then, to hermeneutically resurrect the dead printed words of the compositions into their own "flesh" and action. The third part of the thesis...